The War of Art Read Online Free PDF Page A

He’s petrified.
     
     
    (Conversely, the professional turns down roles that he’s done before. He’s not afraid of them anymore. Why waste his time?)
     
    So if you’re paralyzed with fear, it’s a good sign. It shows you what you have to do.

 
    RESISTANCE AND LOVE
    ----
     
    Resistance is directly proportional to love. If you’re feeling massive Resistance, the good news is, it means there’s tremendous love there too. If you didn’t love the project that is terrifying you, you wouldn’t feel anything. The opposite of love isn’t hate; it’s indifference.
     
    The more Resistance you experience, the more important your unmanifested art/project/enterprise is to you—and the more gratification you will feel when you finally do it.

 
    RESISTANCE AND BEING A STAR
    ----
     
    Grandiose fantasies are a symptom of Resistance. They’re the sign of an amateur. The professional has learned that success, like happiness, comes as a by-product of work.
     
    The professional concentrates on the work and allows rewards to come or not come, whatever they like.

 
    RESISTANCE AND ISOLATION
    ----
     
    Sometimes we balk at embarking on an enterprise because we’re afraid of being alone. We feel comfortable with the tribe around us; it makes us nervous going off into the woods on our own.
     
    Here’s the trick: We’re never alone. As soon as we step outside the campfire glow, our Muse lights on our shoulder like a butterfly. The act of courage calls forth infallibly that deeper part of ourselves that supports and sustains us.
     
    Have you seen interviews with the young John Lennon or Bob Dylan, when the reporter tries to ask about their personal selves? The boys deflect these queries with withering sarcasm. Why? Because Lennon and Dylan know that the part of them that writes the songs is not “them,” not the personal self that is of such surpassing fascination to their boneheaded interrogators. Lennon and Dylan also know that the part of themselves that does the writing is too sacred, too precious, too fragile to be redacted into sound bites for the titillation of would-be idolators (who are themselves caught up in their own Resistance). So they put them on and blow them off.
     
    It is a commonplace among artists and children at play that they’re not aware of time or solitude while they’re chasing their vision. The hours fly. The sculptress and the tree-climbing tyke both look up blinking when Mom calls, “Suppertime!”

 
    RESISTANCE AND ISOLATION,
    PART TWO
    ----
     
    Friends sometimes ask, “Don’t you get lonely sitting by yourself all day?” At first it seemed odd to hear myself answer No. Then I realized that I was not alone; I was in the book; I was with the characters. I was with my Self.
     
    Not only do I not feel alone with my characters; they are more vivid and interesting to me than the people in my real life. If you think about it, the case can’t be otherwise. In order for a book (or any project or enterprise) to hold our attention for the length of time it takes to unfold itself, it has to plug into some internal perplexity or passion that is of paramount importance to us. That problem becomes the theme of our work, even if we can’t at the start understand or articulate it. As the characters arise, each embodies infallibly an aspect of that dilemma, that perplexity. These characters might not be interesting to anyone else but they’re absolutely fascinating to us. They are us. Meaner, smarter, sexier versions of ourselves. It’s fun to be with them because they’re wrestling with the same issue that has its hooks into us. They’re our soul mates, our lovers, our best friends. Even the villains. Especially the villains.
     
    Even in a book like this, which has no characters, I don’t feel alone because I’m imagining the reader, whom I conjure as an aspiring artist much like my own younger, less grizzled self, to whom I hope to impart a little starch and inspiration and prime, a